Tips To Teachers
by Adeline McCall
North Carolina Symphony
Digitized by the Internet Archive
TIPS TO TEACHERS
Copyright by Adeline McCall, 19 8
The North Carolina Symphony
1980 — 1981 Season
TIPS TO TEACHERS
by Adeline McCall
2 Getting Ready for your North Carolina Symphony Orchestra Concert
3 Children's Concert Program and List of Recordings — Season 1980 - 1981
4 Some Suggestions on Concert Preparation
5 Notes on the Children's Program
5-8 OVERTURE — "Abu Hassan"
9-10 HOLBERG SUITE, Op. 40 — Grieg
11 Song: OLEANA — Norwegian Folk Song
12 MARCH OF THE SIAMESE CHILDREN from "The King and I" — Rodgers
13-14 SYMPHONY No. 100 in G Major ("Military") — Haydn
15 COLONEL BOGEY MARCH — Alford
16 Song: I MAY NOT PASS THIS WAY AGAIN — McKuen
17 L'ARLESIENNE — SUITES NO. 1 and NO. 2 — Bizet
19 Some Suggestions to New Teachers
20 Warm-up Ideas to Initiate Creative Movement
21 Finger Painting
22-23 Bibliography — Books, Films, and Filmstrips
North Carolina Symphony P. 0. Box 28026 Raleigh, N. C. 27611
Jackson Parkhurst, Director of Education
NORTH CAROLINA SYMPHONY CONCERT
Start as early as possible to publicize the coming of the
NORTH CAROLINA SYMPHONY ORCHESTRA
to your community
1. Through pictures and articles in local papers
2. Through radio and television announcements
3. Through memos to parents
SEE THAT Principals, Teachers and School Administrators have correct information
on the DATE, THE DAY OF THE WEEK, and THE HOUR of the children's concert set in
their schedules. Avoid conflicts by checking with the School Superintendent
before sending out notices.
BE SURE TO INFORM Cafeteria Managers, Librarians, Teachers' Aides and Assistants
about the concert.
FOLLOW UP with announcements at teachers' meetings, P T A meetings, and on
ARRANGE FOR A DIRECTOR OF TRANSPORTATION to work out bus schedules, and notify
local police to cooperate in providing an escort, and blocking streets.
Inform each school of the route to be taken; where to load and unload, etc.
MAKE A SEATING PLAN FOR THE CONCERT, and send copies to all schools with directions
for entering and leaving the concert hall.
SCHEDULE IN-SERVICE Teachers' Workshops to prepare for the children's program.
Invite art teachers, school librarians, special teachers, aides, and assistants.
ORDER ALL MATERIALS
AS EARLY AS POSSIBLE
An important part of concert preparation is familiarizing children with the music
through listening to recordings, and reading stories about the music and the
composers in their classrooms.
ORDER THE RECORDINGS. These are listed with the children's program on page 3.
In order to facilitate the circulation of records, one complete set for
every srx or eight teachers is recommended.
ORDER SYMPHONY STORIES. Each child should have his own individual copy of these
booklets. Materials printed in Symphony Stories are copyrighted, and may
not be duplicated.
ADDRESS ALL ORDERS TO:
North Carolina Symphony, Jackson Parkhurst, Director of Education
P. 0. Box 28026, Raleigh, N. C 27611
The North Carolina Symphony... Season 1980-1981
Lawrence Leighton Smith, Artistic Advisor and Principal Guest Conductor
James Ogle, Associate Conductor
Jackson Parkhurst, Assistant Conductor
Benjamin F. Swalin, Conductor Emeritus
Overture — "Abu Hassan"
Holberg Suite, Op. 40
March of the Siamese Children from
"The King and I"
Symphony No. 100 in G Major ("Military")
Colonel Bogey March
I May Not Pass This Way Again
L'Arlesienne Suite No. 1
L'Arlesienne Suite No. 2
Exploring Music, 5
Holt, Rinehart &
B L #54
Bowmar Orch . Lib.
B L #54
Bowmar Orch. Lib.
Exploring Music, 5
Holt, Rinehart &
B L #78
Bowmar Orch. Lib. or
PMC 7024 Stereo
In presenting these recordings to children it is important to
establish a feeling for QUIET LISTENING.
Play them over a number of times
before any dance movement
or other activity is
SOME SUGGESTIONS ON CONCERT PREPARATION
1. The purpose of your in-service teachers' workshops is to present the music
to be played at the children's concert. Have the
recordings assembled in order to demonstrate various
ways of bringing the music to life. Ask teachers to
participate by offering suggestions and demonstrating
1) Teach the two songs
2) Teach the percussion score
3) Show films and filmstrips
4) Demonstrate creative movement
5) Suggest art activities
6) Encourage original writing on various
phases of the program
2. Give the children's concert program to all school librarians. See that the
recordings are catalogued and made ready for circulation. Ask the libra-
rarians as resource teachers to plan for the showing of related films and
filmstrips; to set aside reference shelves for books about the music, and
for biographies of the composers; to include information about the music
and the composers in their scheduled story hours.
3. Classroom teachers have a most important role in making symphony preparation
an interesting and enjoyable experience. In some elementary schools teachers
plan "mini-workshops," sharing their ideas and demonstrating various aspects
of their children's activities with others. In an auditorium or multi-
purpose room, three or four grades can assemble for an hour of more. It
should be the responsibility of one class to have the floor or stage cleared,
and to set up the record player in advance.
4. In schools with central public address systems, special programs may be
presented for classroom listening. The symphony-related programs could be
planned by a principal, an interested parent, a musician from the community,
a child, or a group of children.
5. Players in high school or junior high school orchestras are sometimes
available to bring their instruments and give a classroom demonstration.
Learn to recognize the orchestral instruments by signt and sound. Read books
and view filmstrips or films related to the symphony orchestra. Write and
illustrate stories about composers and their music.
Paint murals, posters, pictures; construct simple percussion instruments.
Create free movement after listening to the recordings; dance to the music.
Write a puppet play; make the puppets and construct a stage; perform for
other classes. Make illustrated "symphony" notebooks; plan bulletin board
displays. Get in touch with a local radio station or television station to
find out if there might be a possible tie-in with the music to be played
at the concert.
THE NORTH CAROLINA SYMPHONY SEASON 1980 - 1981 C HAMBER ORCHESTRA
IN THE LIVES OF YOUNG PEOPLE MUSIC CAN MEAN A GREAT DEAL.
Early association with fine music builds many
emotional satisfactions which carry over into
adult life. In to-day's world children's listen-
ing experiences are enriched by television perform-
ances, radio programs, and by a wealth of excellent
recordings. Yet nothing can take the place of a
"live" symphony concert.
The anticipation of a concert and preparation for it
in advance help to highlight the event. But the real
enjoyment and satisfaction of each listener will depend
largely upon his own degree of understanding and his
familiarity with the music.
Children, like most people, love to hear music with
which they are familiar. Learning to recognize a par-
ticular piece will involve a number of listening ex-
periences and a period of time through which to repeat
and deepen impressions. Children also need to express
their impressions through movement, dramatizations,
and some form of art interpretation.
THE CHILDREN'S CONCERT PROGRAM
I. OVERTURE — "Abu Hassan"
Carl Maria von Weber
1786 - 1826
The Overture to Weber's comic opera, "Abu Hassan", will be the
opening number on your Chamber Orchestra concert. This is lively,
appealing music for children's ears. The fast tempo, the agitated
rhythms keep up a continuous feeling of excitement throughout.
The music is written in a series of short episodes, changing from
minor to major and back again, finally ending in a bold, triumph-
ant major key. Just listening may be enough to introduce this
music. But the children may want to move to it, or play per-
cussion instruments. If so, perhaps you could choose a "leader"
to stand facing the group, inventing new hand and arm movements
as the music changes. Or, if instruments are used the "leader"
would "direct", signaling for changes from one type to another,
from loud to soft, from slow to fast, etc.
A discussion of the Overture as a mood-setting instrumental
number before the opera may bring out many original comments
from the children. Ask them what the music might suggest
as a possible plot or story.
The Story of "Abu Hassan" from The Arabian Nights
During the reign of the Caliph Haroun-al-Raschid there lived at Bagdad
a very rich merchant. He had one son, named Abou (Abu) Hassan, whom he
educated with great success. When his son was thirty years old, the
merchant died, leaving him great riches. Since his father had forbidden
all forms of extravagance Abou longed to spend money. He divided his
riches into two parts. With one half he bought land and town houses,
the income from which he did not touch. He spent the other half lavish-
ly, giving magnificent dinners and entertainments. In a year his money
was spent and all his friends deserted him. He went to his mother for
advice, and decided to give no more parties for the people of Bagdad.
He put the income from his rents in a strong box, taking out a little
each day to use for the strangers who came to visit Bagdad. He in-
vited them for supper, and to spend the night.
One day the Caliph came disguised as a merchant. Abou entertained
him, not knowing he was the Caliph. After supper they drank wine and
Abou told him his secret wish. He explained that Bagdad was divided
into four quarters. In one quarter there was an imam and four old
men who met to slander and do malicious things against him. "If I
were the Caliph for one day," said Abou, "I would punish the imam
with 400 lashes and each of the old men with 100 lashes."
The Caliph listened, and poured some wine. On the sly he slipped an
opiate powder in Abou's glass. In no time Abou became drugged. The
Caliph ordered his slave to carry Abou to the palace, and put him in
his bed. Then he commanded all the officers and ladies of the palace
to take orders from Abou, pretending he was the Caliph.
Abou woke up and saw his coverlet was cloth of gold, sparkling with
pearls and diamonds. Then he saw the Caliph's turban, embroidered
with jewels. A slave bowed and said, "Commander of the Faithful, it
is time for your Majesty to rise for prayers." Abou followed his
orders. Then he ascended the throne and held council with the
generals, governors, and officers of state. To them he was "Monarch
of the World from East to West, and Vicar on Earth to the Prophet sent
Abou Hassan could not believe he was the Caliph. He thought it was
a dream. But he ordered an officer to go to a certain Mosque in
Bagdad and find the imam and the four old men. "Beat them (400 for
the imam, 100 for the others); dress them in rags; put all five
on camels with their faces to the tails and lead them through the
city, proclaiming loudly, 'This is the punishment for all those who
To find out if he was dreaming he called a lady of the court to
bite his finger so he would know if he was asleep or awake. Seven
beautiful ladies fanned him; escorted him to the dining hall where
musicians played and danced while he was at lunch. Then later at
dinner there were seven more beautiful ladies.
One of the ladies, named "Cluster of Pearls," brought him some
wine in which she had put an opiate powder. Soon Abou was fast
asleep. The Caliph had him dressed in his own clothes and taken
back to his home.
When Abou Hassan woke up he still believed he was the Caliph. His
mother believed he was crazy, and so did the neighbors. They took him
to a lunatic asylum where he was given fifty strokes of the bastinado
(big stick) daily to help him remember he was not the Caliph. Finally,
he decided it had all been a dream.
When he was released Abou Hassan went back to inviting strangers to
supper. The Caliph came again, dressed as a merchant. After dessert
they drank wine for some time, and the Caliph asked if he ever thought
of getting married. "I would be glad to provide a lady for you," he
said. So Abou agreed to drink to the health of the lady. The Caliph
drugged him again, and his slave took him back to the palace and put
him in a hall. There were officers, ladies and musicians there when
he woke up. They played and danced around him. Abou was in a mood
for cutting capers so he joined the dance, and the Caliph was much
pleased. From this time on the Caliph and Abou became great friends.
Abou visited the palace frequently and met Zobeide, the Caliph's wife.
Abou fell in love with one of Zobeide's slaves, the beautiful Nouz-
hatoul-aouadat. When they were married the festivities at the palace
lasted for many days. The Caliph and Zobeide gave the couple very
rich and handsome presents. So they settled down to live in great
luxury. They gave entertainments and lavish parties — and in a
year were penniless.
Retold from "The Arabian Nights" - Junior Library
Illustrated by Earle Goodenow (Grosset & Dunlap)
The first part of the story of "Abu Hassan", as related here, was not
used in Weber's score. His opera opens with the couple penniless, discovering
that there is neither food or wine in the house. The characters and
plot of Weber's version of "Abu Hassan" is printed in Symphony Stories .
The name of Abu's wife has been changed to Fatime (Fah-teem-eh) .
1) In discussing the story of the opera with your children it
would be a good idea to bring out the fact that legends, fables
and folk tales may go through many changes as they are passed down
through the years. Can you think of any American folk tales or
songs with different versions in different sections of the United
States? For example: "Go tell Aunt Rhody" - "Go tell Aunt Patsy" -
"Go tell Aunt Nancy" - etc.
2) You might suggest reading other stories from "The Arabian Nights."
Many children already are familiar with Ali Baba and the Forty Thieves ,
Aladdin, or The Wonderful Lamp , and Sinbad the Sailor .
3) Older children might find it interesting to write and produce a
play or a puppet show. Some suggested procedures:
... Make a list of the characters in the story of "Abu Hassan."
... Describe each one with a sentence or two.
... Create each character in movement, dance improvisation and
... Let the children write the story in their own words, then
choose a script for the production.
About the Composer
Carl Maria von Weber, noted for the establishment of a German national
opera, not only with libretti in the German language, often based on
national subjects, but with music unmistakably German in style. He is
also looked upon as the founder of the Romantic School in opera.
His father, Franz Anton von Weber (1734 - 1812) had been an army officer
but he took up the profession of music when he was in his forties. His
niece, Constanze Weber, was the wife of Mozart — Carl Maria's first cousin
Carl's mother was a dramatic singer of considerable talent. Both parents
were eager for their son to have a good music education. His first teacher
was his stepbrother, Fritz, a pupil of Joseph Haydn. He had thorough
instruction on the piano from J. P. Heuschkel, and later became a virtuoso
concert pianist. As a chorister in the Salzburg Cathedral he attracted
the attention of Michael Haydn who gave him free lessons in composition.
He became so much interested in the invention of lithography that he
worked at it, improved the process, and printed his own Opus 2, Variations
for Pianoforte, in 1800.
Weber's greatest fame rests on his two masterworks, the operas Per
Freisch'iitz and Euryanthe .
The premiere of Der Freischiitz (a marksman who uses magic bullets)
was a major triumph. His wife, Caroline Brandt, sang the role of
Agathe. Weber's son describes the event in a biography of his father.
"The curtain fell but not a soul left the house. Thunders of applause
and thousands of voices summoned the composer before his enraptured
audience. At last he appeared. . . . Amid the deafening shouting,
flowers and verses were flung from all directions. The success had
been immense, unparalleled."
Der Freischiitz was given fifty performances in Berlin in the next
year and a half. In 1822 it was taken to Dresden, where its Berlin
success was repeated. The same year it was also produced in Vienna.
Rossini attended the premiere, and is said to have remarked that the
opera gave him the colic. But the young Viennese went wild, hailing
the triumph of German opera.
The Viennese impresario who had brought Der Freischiitz to Vienna
commissioned Weber to write a new opera for his theatre. Weber
responded with a new work which he called Euryanthe . This too proved
to be very successful. It was first performed on October 25, 1823
before a brilliant audience which included the Emperor himself.
After the success of Der Freischiitz in London Weber was commissioned,
for a magnificent sum, to write an opera in English. Although his
health was declining he managed to finish his Oberon and conduct the
premiere on April 12, 1826. He considered Oberon to be the crowning
triumph of his life. But it was his last one. He never left England.
He was found dead in bed. He was buried in London, but eighteen years
later he was moved to Dresden. Richard Wagner wrote special music for
the burial service and delivered the eulogy.
II. HOLBERG SUITE, Op. 40 Turnabout
Prelude TVS 34404
Edvard Hagerup Grieg
1843 - 1907
Grieg's Holberg Suite, Op. 40, was composed in 1884 in commemoration
of the 200th anniversary of Ludwig Holberg's birth. The Suite for
String Orchestra was dedicated to Frau Erika Lie - Nisson. The
instruments needed to play the Suite are 1) Violins 2) Violas
3) Cellos and 4) Double Bass.
In the orchestra score Baron Ludwig is described as "the MolieTe of
the North, the creator of the modern Danish-Norwegian literature."
He is further described on the Turnabout jacket as the Norwegian-born
Holberg who "lived in an age when the well-born Dane was supposed to
write Latin to his friends, talk in French with the ladies, summon
his dogs in German, and use Danish only to swear at his servants.
By his writing of poetry and political satire, and the writing and
directing of plays in Danish, Holberg accomplished for Danish much
the same thing Elias Lonnrott achieved for the Finnish tongue: he
elevated Danish to the status of a literary language. And he had to
do this through his own writing. His country needed a literature; he
therefore provided it with a generous and versatile pen. History,
science, philosophy, and politics were among the fields explored by
Holberg for the benefit of his countrymen."
The Grieg Suite is a fine example of the composer's genius for writing
lyrical melodies with wistful, nostalgic undertones. If you are familiar
with Solveig's Song from the Peer Gynt Suite you will discover some
basic similarities in this music.
a fast repetitions of pattern 8 measures
*.b smooth flowing melodies 8 measures ',
a fast repetitions of pattern 2 measures
c downward passages - all strings 8 measures
d repetition of pattern - viola, then cello 8 measures
repetition of pattern - bridge 4 measures
e strong new melody - first, violins, then basses 8 measures
b smooth flowing melodies 8 measures
Coda 8 measures
brisk staccato - 2 counts to a measure
derived from a
strongly accented patterns - loud and soft
bold descending final theme - loud
smooth legato minor melody
8 measures :||
18 measures '.
From the beginning without repeats
About the Composer
... Edvard Grieg was a national hero in Norway. Hans von Bulow called him
the "Chopin of the North." Grieg himself felt that a composer "of the North"
might imply that he belonged to all the Scandinavian countries. To clarify
his stand that he was definitely Norwegian, not Scandinavian, he said:
"The national characteristics of the Norwegians, Swedes, Danes are wholly
different and their music differs just as much. I am not an exponent
of Scandinavian music, but of Norwegian."
... As a nationalist composer Grieg drew his inspiration from native
folk songs and rustic dances. He never used them literally but let
his imagination transform them into his own original rhythms and
. . . Once a great Norwegian violinist and composer said to him: "Do you
see the fjords over there — the lakes and streams, the valleys and
forests, and the blue sky over all? They have made my music — not I.
Frequently when I am playing, it seems to me as if I merely made mechanical
motions and were only a silent listener while the Soul of Norway sings
in my soul."
. . . Years later it was Grieg who became the silent listener while the "Soul
of Norway" sang in his soul. But the cause for Norwegian music was not
won without constant perseverance and frequent discouragement.
... Early in 1864 it was Grieg's good fortune to become a friend of a young
Norwegian musician named Rikard Nordraak, composer of the Norwegian
national anthem. Nordraak introduced Grieg to his personal collection
of Norwegian folk songs and dances. He, too, wanted to create a Norwegian
music in the tradition of the Norse race. Together they vowed to dedicate
their lives towards freeing their country's music from German influences
and encouraging the use of native folk sources.
... At about this time he became engaged to his own first cousin, Nina
Hagerup, a talented singer who later popularized his songs. Because
of her parents' objections the marriage was delayed until 1867. Then
in 1869 the tragic death of their first and only child, a thirteen-
month-old girl plunged Edvard Grieg into a depression.
... His despair was unexpectedly relieved when he received a letter from
Rome, full of warmth, encouragement and appreciation. It was from Franz
Liszt telling him that he was profoundly impressed by his Sonata in F
for violin and piano. He added: "I could hope that you are finding
in your own country the success and encouragement you deserve."
... Eventually, as Grieg continued to compose and his fame spread throughout
Europe, his own country did encourage and appreciate him. The government
granted him an annual subsidy which assured him of financial security.
... Among his many compositions his Concerto in A Minor is probably the most
frequently performed. But his incidental music to Henrik Ibsen's play,
Peer Gynt , is his most popular work. The Viennese critic, Eduard
Hanslick prophesied that Ibsen's drama would survive only because of
III. SONG: OLEANA
Norwegian Folk Song
Recording, Book 5
Exploring Music Series, Book 5
Holt, P.inehart & Winston, Inc.
QLEANA IS PRINTED ON THE INSIDE FRONT COVER OF SYMPHONY STORIES.
Children should memorize all four stanzas of the song to sing with
the orchestra. They are not permitted to bring copies of the words
or the music into the concert hall.
Practice the song ahead of time, preferably without the aid of the piano,
For school rehearsals you may want to use an autoharp to stabilize the
beat, please do not bring the autoharp to the concert.
Z p _
TEACHING THE SONG
B b - I F -
C- F -
Talk about Grieg' s interest in folk songs and how Norwegian folk
tunes and dances were an inspiration to him when he was composing.
Point out that Oleana begins with the Refrain . This is often the
case in folk song singing.
If possible, teach the Refrain in two parts. The verses may be
sung in unison.
The song is in 2/4 meter. In conducting, use a strong down beet on
the "ones." For example:
The preparatory beat will be an upbeat on "two."
At the conclusion of the Grieg Holberg Suite The conductor will
ask the children to stand. Tarn them to watch carefully for his
signal, and to get up as quietly as possible. The orchestra will
play an introduction before the conductor gives the audience the
cue to start singing. Impress on your children the importance
of watching the conductor at all times, and to make any changes
in tempo or dynamics that he indicates.
IV. MARCH OF THE SIAMESE CHILDREN from "The King and I" B L #54
Richard Rodgers, 1902 - 1979 Bowmar Orchestral
Oscar Hammerstein II, 1695 - 1960 Library-
Richard Rodgers and Oscar Hammerstein II were collaborators in the
writing and production of a number of successful Broadway musicals.
Richard Rodgers composed the music and Oscar Hammerstein II wrote the
words. With Oklahoma t they were at the height of their careers. This
musical, which continues to be popular with audiences all over the United
States, was first staged in New York in 1943. The original choreography
synthesized ballet movement and square dancing. Essentially a "folk" ins-
pired work it brought together plot, music, and dance in such a way that
critics heralded it as a new form of American opera.
"The King and I" after many successful performances on Broadway
a number of years ago is now having a revival during the present
season. The famous collaborators, Rodgers and Hammerstein, are no
longer alive to witness their continuing popularity, but theatre-goers
in New York will again have the opportunity to hear the delightful music
and enjoy the story of "Anna and the King of Siam."
The scene was laid in Siam (now Thailand) during the time of the Civil
War in America. Abraham Lincoln was President. The King of Siam, who
was sympathetic to Lincoln' s efforts to free the slaves, offered to
send him seme elephants to transport ammunition. You will find a summary
of the plot in Symphony Stories, page 8.
Things to do
1) Talk about what has happened to Siam. Show meps. Discuss
Thailand (TT-land) as it is to-day. (A constitutional monarchy
in Southeast Asia; 198,404 square miles; estimated population, 1961,
27,181,000; capital, Bangkok; surrounding countries, Burma, Laos,
2) Read and discuss the story. Then list the characters and describe them
in pantomimic dance movement: The King of Siam; Anna, the governess
of the King's children; Anna's little boy: the Crown Prince; all the
Siamese children, of different ages and sizes; attendants at the Palace.
3) Listen to the music many times to help the children disoover that it
is Oriental (instruments are gong, wood block, oymbal, temple blocks).
4) Disoover the rhythm pattern, repeated many times: Ji.
Play the pattern on different kinds of percussion instruments.
5) The music of The March of the Siamese Children may be charted in
A B A C A 8 A
You will notice that the "A" section returns after each new-
theme is played. This is Rondo Form .
6) Dramatize the entrance of the Siamese children as they are presented
at court to their new governess.
V. SYMPHONY NO. 100 in G Major ("Military") M 34126
Franz Joseph Haydn
1732 - 1809
During a period of four years, beginning on New Year's Day in 1791 and
ending August 15, 1795, Haydn made two trips to London. He went at the
invitation of Johann Saloman, an orchestra conductor, who made a contract
with him to compose six symphonies and conduct them at a series of con-
certs. The success of the first six was so great that he was commissioned
by Mr. Saloman to write another set of six symphonies.
It was on Haydn's second visit to London that he wrote the "Military"
Symphony. It was performed in the spring of 1794. The name "Military"
was given to the symphony because in the second movement Haydn's score
calls for a large drum, brass cymbals, and a triangle — in addition
to the tympani — to imitate the Turkish Janizary bands. Music of the
Janizary, the military bodyguard of Turkish sovereigns, c. 1400 - 1826,
was extremely popular in Europe around 1800. Mozart imitated it in his
Abduction from the Seraglio , and in the Turkish March from his Piano
Sonata in A. Beethoven also imitated it in his Ruins of Athens , and in
the finale of his Ninth Symphony. Harpsichords and pianofortes of the
late 18th century frequently were equipped with "Janizary" stops which
made a rattling noise.
Haydn's "Military" Symphony pleased the King so greatly that Haydn
was specially presented to his Majesty by the Prince of Wales. And
another happy aspect of the Saloman concerts was that Haydn is said
to have made a net profit of $12,000, enough to relieve him of any
financial anxiety connected with English visits.
Things to Do
1) Compare the size of Haydn's orchestra with the size of the
usual symphony orchestra of to-day. When Joseph Haydn first
became director of music for Prince Nicholas on the Esterhazy
Estate there were seldom as many as sixteen musicians to take
part in concerts and opera performances. Haydn constantly begged
for more players. Finally, in 1785, his orchestra had grown to twenty-
three players — twenty-four when he himself played the harpsichord.
2) In 1790 Joseph Haydn went back to Vienna where he lived happily
in a house of his own, compsing and giving lessons until he was
an old man. His two most famous pupils were Mozart and Beethoven.
Find out more about Haydn's relationships with these two composers.
Consult the Bibliography for lists of books and filmstrips.
3) On the outside back cover of Symphony Stories there is a Percussion
Score to be played with a recording of the Third Movement of the
"Military" Symphony ( Menuetto ) . Suggestions on teaching children
how to play the Percussion Score are written on the following page.
THE PERCUSSION SCORE
MENUETTG from Haydn's SYMPHONY NO. 100 in Q MAJOR ("Military") M 34126
THE PERCUSSION SCORE IS PRINTED ON THE OUTSIDE BACK COVER
OF "SYMPHONY STORIES"
Have eaoh child prop up the soore on his desk
by placing a thick book on top of page 12, "Symphony Stories"
1. Explain to your children that the Percussion Score is for class-
room use only. Do not bring percussion instruments to the concert.
2. Arrange to have all the required percussion instruments at each
ohild* s place ahead of time. Do not pass them out after the
children arrive if you want to save time and avoid confusion.
3. Play the reoording a number of times for listening only.
Help the children to disoover for themselves that the Minuet
is in three sections:
A B (Trio) A
The middle part, known as the Trio, is a contrast in mood and
melodic feeling from the "A" sections. The tempo and rhythm
remain steady throughout.
4. Looking at the score explain the meter (3/4) and call attention to
the fact that eaoh line of the score begins on the third beat.
On lines 1, 2, 5, 6, 7, and 9 the third beat (upbeet) is a rest.
5. There are three quarter notes, or their equivalent, in each measure.
Let the ohildren discover some of the different note patterns
and write them on the board:
<MJJ*I b -U?i3.gl C -U*«T3I J -|J3I3 J3 I etc.
6. Count the meter out loud: three \ one two three | one two three I
7. Clap the first beat in each measure, then "conduct" the score;
3u 4, \
VI. COLONEL BOGEY MARCH B L #54
Kenneth J. Alford (pseud.) Bowmar Orchestral
1881 - 1945 Library
The composer of the Colonel Bogey March , Frederick J. Ricketts,
used the pseudonym, "Kenneth J. Alford." He was born in London in
1881 and died in Redgate, Surrey, in 1945. Alford's fame spread
rapidly after his Colonel Bogey March was introduced in the movie,
"Bridge on the River Kwai" in 1958. Because Alford was known as
"the British Sousa" you may find it interesting to have your chil-
dren learn more about "the American Sousa." His march, Stars and
Stripes Forever is on the same recording with "Colonel Bogey."
About the Composer, John Philip Sousa (1854 - 1932)
... As a bandmaster, Sousa was internationally renowned. He was
appointed leader of the Marine Band in 1880 and by 1891 he had
made it into a balanced ensemble of forty-nine players which in-
cluded 26 reeds, 20 brass and 3 percussion.
. . . Sousa organized his own band in 1892 and toured with it through
the United States , Canada, Europe and later all over the world.
... As a composer, Sousa wrote many kinds of popular music, notably
songs and operettas. But, it was as a composer of wind-band marches
that he excelled. He lived at a time when the march was especially
popular. It was basis of the repertory for military and parade
bands as well as for village bands and it turned up at ballroom
dances as music for the Two-Step of the 1890's.
. . . Sousa composed about one hundred and forty marches between 1876 and
1931. He believed in entertaining the public rather than in trying
to educate, but his musical standards and taste were of high quality.
Comparing himself to Theodore Thomas who had a great symphony or-
chestra he said: "Each of us was reaching an end, but through dif-
ferent methods. He gave Wagner, Liszt, and Tschaikowsky , in the
belief that he was educating his public; I gave Wagner, Liszt and
Tschaikowsky with the hope that I was entertaining my public.
Listening Highlights - THE STARS AND STRIPES FOREVER
The typical Sousa March is fairly short, in duple meter (2/4, 2/2,
or 6/8.) The framework follows a conventional pattern.
After playing the recording of Stars and Stripes a number of
times, let children try to work out something about its structure:
Introduction 4 measures
First theme 16 measures (repeated)
Second theme 16 measures (repeated)
Trio 32 measures
Break 24 measures
Trio Louder with piccolo counter-melody
Break 24 measures
Trio Counter-melody in trombones
Stimulate children's creative ideas about playing simple percussion
instruments in different sections; or, perhaps developing movement.
VII. SONG: I MAY NOT PASS THIS WAY AGAIN Reoording, Book 5
Words and music by Rod MoKuen Exploring Musio
Aooompaniment t Exploring Musio Series, Book 5
Holt, Rinehart & Winston, Inc.
I MAY NOT PASS THIS WAY AGAIN IS PRINTED ON THE INSIDE BACK COVER
OF SYMPHONY STORIES
Children should memorize all three stanzas of the song to sing with
the orohestra at the ooncert. 3efore the conductor invites the audience
to stand and sing, your selected school instrumental group will play the
song through once. There should be a teaoher-conduotor in charge of
this group. They must have the music memorized in order to follow
the teacher's direotion.
INSTRUCTIONS FOR PLAYING
The Instrument players are "on their own" and will not be aocompanied
by the orchestra. Instruments to include in the group may be small
wind instruments, suoh as tonettes, melody or song flutes; reoorders;
violins; melody or tone bells and autoharps.
1) Wind instruments and strings play the entire song.
2) Bells play 3rd, 4th, and 6th lines.
3) Autoharps play the ohords as printed on page 12 of Symphony Stories .
As an introduction sound three strong C-chords.
TEACHING THE SONG
The song is in 2/2 meter. There are two beats to the measure. In
conducting use a definite strong down beat on the "ones." As follows:
Since the first measure is incomplete, starting on the last half of
the first beat, a possible preparation might be:
'' V one
Before the audience stands to sing, the orohestra will play the
last two lines of the song as an introduction.
Tell your children to watch the orohestra conductor oarefully
during the singing, and to make any changes in tempo or dynamios
that he indicates.
VIII. L'ARLESIENNE - SUITES NO. 1 and NO. 2 - 1872 B L #78
Minuet Bowmar Orchestral
Farandole Library OR
Georges Bizet PMC 7024 Stereo
1838 - 1875 Quintessence
When the French dramatist, Alphonse Daudet, asked Georges Bizet to
write incidental music for his play, "L'Arlesienne," (The Woman of
Aries) he was delighted. Bizet had a life-long interest in the stage,
as well as a great talent for orchestration that was colorful and
imaginative. This was a requisite in 1872 when a composer of inciden-
tal music had to write his score for the players the theatre happened
to employ. The Vaudeville, the Parisian theatre at which L' Arlesienne
was to be produced, had an orchestra of twenty-six pieces — seven violins,
one viola, five cellos, two double basses, two flutes, one oboe, one clari-
net, two bassoons., one saxophone, two horns, kettledrums, and piano. It
was an odd assortment of instruments, but with Bizet's talent the music
turned out to be something of a masterpiece.
Listening Highlights for the Minuet
As children listen to the recording of the Minuet help them to
discover Bizet's use of instruments:
A - Dance Movement
b Woodwinds, strings (Question and answer)
B - Trio
c Scraping sounds in open fifths to imitate bagpipes and
a drone bass
d Singing theme - Clarinets and saxophone, with a soft melody
for strings weaving in and out
e Codetta - Solo oboe and strings
A - As above
The Story of L'Arlesienne
The plot of "L'Arlesienne" is not a children's story. The scene
is laid in Provence at the old farmstead of Castelet. Frederi, the
young son of the house, is madly in love with a beautiful dark-eyed woman
of Aries, who never appears in the play. As the family are about to cele-
brate Frederi's engagement to L'Arlesienne, a stranger arrives with let-
ters, proving that the woman of Aries is a common adventuress. She has
taken advantage of Frederi's love to become the mistress of the rich
estate of Castelet.
The engagement party is off, and Frederi is brokenhearted. The boy's
mother fears that he will commit suicide, but his uncle reassures her, say-
ing: "One dies of pleurisy, a crack in the head, or is swept overboard
by a big wave . . . but luckily, one does not die of love."
Later in the play Frederi decides to marry his childhood friend and
playmate, Vivette. At the betrothal celebration, the stranger reappears.
The memory of his old love for the beautiful L'Arlesienne sweeps over
him, and in despair he throws himself from an upper window. As he lies
dead on the stones below, the play ends with these lines, "Look from this
window and you will know whether or not one dies of love!"
MOVEMENT is a child's natural medium of expression. He uses it as an extension
of listening to deepen his impressions of the music he hears. He is often able
to "dance" his impressions of musical experiences more effectively than to ex-
press them in words. Movement may be a means of stimulating his imagination and
of encouraging his innate desire to create. It may also be an outlet for frus-
tration or for an emotional problem. With all children movement promotes a sense
of physical well being; and it offers a change of activity to relieve fatigue
during the school day.
LISTENING requires concentration. It is not merely "hearing" the sound of music;
it is giving one's whole attention to it. First listening experiences usually
reflect vague impressions such as the over-all mood. Children hear the obvious
parts of the composition — ■ changes from loud to soft, strong rhythmic pulse, fast
and slow tempos, repetition of familiar patterns; sudden accents, outstanding in-
struments , etc. In guiding children's responses it may be helpful at times to
point out a certain specific element for concentrated listening. Awareness of the
many elements will develop gradually as new concepts are built. THE LISTENER
NEEDS TO HEAR THE MUSIC MANY TIMES.
IN BUILDING CHILDREN'S AWARENESS of musical elements some teachers may find it
useful to refer to a check list from time to time:
CHECK LIST OF MUSICAL ELEMENTS FOR SPECIFIC LISTENING
CHANGE OF KEY
Loud, soft, accented, sudden or gradual
High, low, small range, large range, staccato, legato
Change of meter, varied rhythmic patterns
Fast, slow, moderate, sudden, gradual
Lively, serious, happy, sad, wistful, turbulent, etc.
Major, minor, atonal, modal
Pentatonic, diatonic, whole tone, modal, 12-tone row,
Section, phrase, theme
A A, A A B A, A B C A, Rondo -ABACADA, etc.
Linear, chordal, contrapuntal, many voices or instruments,
few voices or instruments, solo
Books about Movement
Driver , Ann
Gray, Vera &
MUSIC AND MOVEMENT
MUSIC, MOVEMENT AND MIME FOR CHILDREN
Recording : Listen, Move & Dance
(Electronic music and instrumental selections)
CREATIVE DANCE IN THE PRIMARY SCHOOL
(Highly recommended for all ages: an excellent
philosophy on the importance of free movement
versus patterned dances)
HOW ART AND MUSIC SPEAK TO US
Oxford Univ. Press
Oxford Univ. Press
Cap H - 21007
Some Suggestions to New Teachers
1. Set aside in your schedule one or two regular times each week for dancing.
2. Clear as large a space as possible. Let the children clean the floor and
move their own desks or tables according to an established routine.
3. Take off shoes and socks. Contact of bare feet on the floor helps in "feeling"
the rhythm. Also, children are able to hear the music better without the sound
of shoes (Rhythm sandals or sneakers are 0. K.)
4. Let each child begin by finding a space on the floor where he can spread his
arms out as far as possible without touching another dancer.
5. In order to encourage children to utilize all the floor space, suggest that
they constantly keep dancing "to the edges." To emphasize keeping as much
space as possible between dancers as they move over the floor, suggest that
they "go through the holes."
6. Let children explore different levels by moving high in the air, by moving at
an in-between level, or by moving near to or even on the floor. Move to the
left, right, forward, backward.
7. Use the whole body — legs, arms, back, face, torso, fingers, head, eyes, knees,
feet, ankles, wrists, etc.
8. If your class is large, divide it into three groups. One way to accomplish
this is to let the children number themselves; one, two, three — one, two,
three, etc. Do not always have the same children in each group. Vary the
way you choose by such devices as calling names alphabetically, letting
children choose, taking names with "two letters, three letters, four letters,"
etc., asking those who most want to dance a number to volunteer. Children
like to be chosen by colors — "those with pink dresses, red socks, blue
shirts, brown eyes," etc.
9. Before attempting to dance with music, be sure that your group has heard the
music many times, and is feeling it "from within."
10. When your class begins moving to music, say as little as possible in order to
build up an atmosphere of listening. A good way to encourage quiet is to stop
the music from time to time and see if the dancers can carry on in silence,
still "listening" inside to the music they have been hearing.
11. As the children continue to dance, their movement will be more expressive when
they have become thoroughly familiar with the content of the music. For in-
stance, they will hear changes in tempo or dynamics; melodic rise and fall;
change in mood; phrasing; pattern; etc.
12. Don't always be an observer. Take off your shoes and dance!
13. Sometimes let the children initiate original movement without following music.
Drums, other instruments, or vocal sounds may be used as accompaniment.
14. Also use poetry, stories, words, paintings, textile designs, movements of
natural and medhanical objects to stimulate dance ideas.
Warm-up Ideas to Initiate Creative Movement
Two children, facing each other. One is chosen as a "leader"
to initiate different movements which his partner imitates.
Reverse, letting the other child become the leader. Then,
instead of imitating make movements as different as possible
from the other partner.
One child is seated on the floor with several instruments, such
as a drum, a maraca, a xylophone, cymbals. He "composes"
at random while his partner makes up original movement to fit
his musical sounds. Reverse the roles of the two children.
Try out the limits of the floor space by:
...Moving to the edges, passing through, but not touching
other dancers. Return to the center, then back to the edges
and be quick to turn or reverse direction so as not to get
in the way of anyone else.
...Move forward, backward, in a diagonal, a circle, a spiral,
zig-zag, figure eight, triangle, square.
...Move upward, downward, from side to side, flat on the floor,
climb the wall, whirl.
Move fast; move slowly; gradually faster and slower.
. . .What starts slowly and moves faster and faster? (Train,
car, airplane, etc.)
...What starts fast and moves more and more slowly? (A top, a
wind-up toy, etc.)
Make big movements: A big round snow man, an elephant, a
giant, a bull-dozer, etc.
Make small movements: An ant, a baby bird, a tiny spider, etc.
Clap and dance names of flowers, children, food, birds.
Stretch up and move as high as possible; as low as possible, and
at a middle level.
Lift a heavy weight; push a heavy weight; pull a heavy weight;
stuck in molasses, moving every way trying to get unstuck;
Float up and float down; dance: feathers, leaves, falling snow,
People : Queen, grandmother, cowboy, astronaut, baby crawling, a
lady having tea, cowboy, nurse, doctor, dentist
Animals : Snake, rabbit, turtle, hippopotamus, kitty, goat, cow, etc,
Mechanical objects: Washing machine, windshield wiper, egg beater
crane, oil well pump, helicopter, etc.
Natural phenomena : Wind, rain, hail, ice storn, hurricane, etc.
Dramatize poems, stories, scenes from plays, ballets, etc.
Use movement to describe a spinning top; a ball game; sand;
stars; a fox hunt.
FINGER PAINTING, unlike painting with brushes, furnishes a simple, direct way
of extending the child's listening experiences. The medium is not demanding,
and it offers a high degree of tactile satisfaction. To be successful with
a group of children, the situation must be carefully prepared in advance.
Materials Necessary for Finger Painting
Smooth surfaced tables (enamel, masonite, linoleum tops or hardwood) of height
comfortable for child to stand and reach the entire area of the paper.
Finger paints of good quality. (Not made of starch or other substitutes).
Preferably buy the original Ruth Shaw finger paints prepared by Binney & Smith,
from Southern School Supply, Raleigh, N. C. Colors: Black, red, blue and green.
Other materials needed: some newspaper, a dipping pan, glazed finger paint paper,
a sprinkling can, a pail to wash in, a pencil, tongue depressors, paper towels,
old shirts or aprons, absorbent cloths, a tablespoon, and an electric iron.
SUGGESTIONS FOR USING WITH MUSIC: Let everyone experiment with the paint and
paper for some time before introducing music. Then listen to the recording once
or twice before beginning to paint. Always observe this rule:
START AND STOP WITH THE MUSIC
Steps in Finger Painting
1. Roll sleeves above elbow, and put on apron.
2. Put folded sheet of newspaper on floor to receive finished painting.
3. Half fill pail of cool water, placing near it 2 absorbent cloths for cleaning up.
4. Have ready a pan of water 4" by 17" (or cafeteria tray) for submerging paper.
5. Place open jars on supply table along with tongue depressors for easy access.
6. Write name and date on rough or matte side of paper.
7. Roll paper in small cylinder and submerge in dripping pan. Unroll, pulling
under, up and out of water until both sides of sheet are thoroughly wet.
Allow excess water to drip back into pan.
8. Lay wet sheet on table and smooth out air bubbles and wrinkles.
9. Take jar of chosen color to table with tablespoon and depressor.
10. Put 3 level tbsps. of finger paint in center of paper.
11. Replace jar of paint on supply table.
12. Mash paint with palm of hand until it is smooth and soft.
13. Sprinkle with water and spread over entire page.
14. Add sprinkle of water now and then to keep moist until painting is finished.
15. Wash arms and hands before removing the painting.
16. Lift paper carefully at upper right corner until sheet is loosened from table.
17. Carry, spread between 2 hands, and lay on newspaper to dry.
18. Clean up finger paints from table, spoons, tongue depressors.
19. Return jar lids and jars to storage shelf.
20. Empty pans of water and dry thoroughly to avoid rust.
21. Later, when painting is dry, press it with a warm iron on matte side.
DISPLAY OF PAINTINGS. As important as the actual finger painting experience is,
children should have an opportunity to display their work, and to tell their class-
mates about it. If space is limited they might just stand in front of the class and
hold up each painting. If bulletin board space is available, the paintings can be
mounted and hung.
Films Films trips
Mirsky, Reba Paeff
Young, Percy M.
Graham, Alberta P.
EDVARD GRIEG, BOY OF THE NORTHLAND
JOHN PHILIP SOUS A
GREAT BANDS OF AMERICA (Sousa)
Allen, Robert T.
Baines , Anthony
Bonner, Mary G.
Greene, Car la
Surplus, Robert W.
Suggs, William W.
MUSICAL INSTRUMENTS THROUGH THE AGES
WONDERS OF MUSICAL INSTRUMENTS (children)
AN INTRODUCTION TO THE INSTRUMENTS OF THE
INSTRUMENTAL CHAMBER MUSIC (children)
LET'S LEARN ABOUT THE ORCHESTRA (children)
FOLLOW THE LEADER: THE STORY OF CONDUCTING
MEET THE ORCHESTRA
Stories of Interest
KUWAIT AND THE RIM OF ARABIA
THE ARABIAN NIGHTS
TWO BOYS OF BAGDAD
WHAT IT'S LIKE TO BE A MUSICIAN
Reilly & Lee
Gass & Weinstock
NEW MILTON CROSS' COMPLETE STORIES OF THE Doubleday
GREAT OPERAS (children)
THROUGH AN OPERA GLASS Abelard
THE FIRST BOOK OF THE OPERA (children) Watts
FILMS and FILMSTRIPS
Films available from the North Carolina Public Library Film Service:
MARCHING ALONG WITH SOUS A
FIDDLE DE DEE
INSTRUMENTS OF THE ORCHESTRA
Films available from U. N. C. Audio-Visual Department, 111 Abernethy Hall,
Chapel Hill, North Carolina 27514. Send for latest catalog.
STORY OF A VIOLIN
Jam Handy Series
of Music Series
INSTRUMENTS OF THE ORCHESTRA
6 color filmstrips & 6 recordings
FRANZ JOSEPH HAYDN - //HAR-1810
HAYDN, FATHER OF THE SYMPHONY - //KR-2
HAYDN - Bowmar #282
THE FIRST DRUM - Part I
How Music Began
1976 42 frames 6 min. Gr . K - 5
Prentice Hall, Inc.
STATE LIBRARY OF NORTH CAROLINA
3 3091 00766 4006